The existential philosophy, as well as the Theater of the Absurd, represents anti-environments that point to the critical pressures of the new electric environment. Jean-Paul Sartre, as much as Samuel Beckett and Arthur Miller, has declared the futility of blueprints and classified data and “jobs” as a way out. Even the words “escape” and “vicarious living” have dwindled from the new scene of electronic involvement. TV engineers have begun to explore the braille-like character of the TV image as a means of enabling the blind to see by having this image projected directly onto their skins. We need to use all media in this wise, to enable us to see our situation.
In Chapter One there are some lines from Romeo and Juliet whimsically modified to make an allusion to TV. Some reviewers have imagined that this was an involuntary mis-quotation.
The power of the arts to anticipate future social and technological developments, by a generation and more, has long been recognized. In this century Ezra Pound called the artist “the antennae of the race.” Art as radar acts as “an early alarm system,” as it were, enabling us to discover social and psychic targets in lots of time to prepare to cope with them. This concept of the arts as prophetic, contrasts with the popular idea of them as mere self-expression. If art is an “early warning system,” to use the phrase from World War II, when radar was new, art has the utmost relevance not only to media study but to the development of media controls.
When radar was new it was found necessary to eliminate the balloon system for city protection that had preceded radar. The balloons got in the way of the electric feedback of the new radar information. Such may well prove to be the case with much of our existing school curriculum, to say nothing of the generality of the arts. We can afford to use only those portions of them that enhance the perception of our technologies, and their psychic and social consequences. Art as a radar environment takes on the function of indispensable perceptual training rather than the role of a privileged diet for the elite. While the arts as radar feedback provide a dynamic and changing corporate image, their purpose may be not to enable us to change but rather to maintain an even course toward permanent goals, even amidst the most disrupting innovations. We have already discovered the futility of changing our goals as often as we change our technologies.
In a culture like ours, long accustomed to splitting and dividing all things as a means of control, it is sometimes a bit of a shock to be reminded that, in operational and practical fact, the medium is the message. This is merely to say that the personal and social consequences of any medium — that is, of any extension of ourselves — result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology. Thus, with automation, for example, the new patterns of human association tend to eliminate jobs, it is true. That is the negative result. Positively, automation creates roles for people, which is to say depth of involvement in their work and human association that our preceding mechanical technology had destroyed. Many people would be disposed to say that it was not the machine, but what one did with the machine, that was its meaning or message. In terms of the ways in which the machine altered our relations to one another and to ourselves, it mattered not in the least whether it turned our cornflakes or Cadillacs. The restructuring of human work and association was shaped by the technique of fragmentation that is the essence of machine technology. The essence of automation technology is the opposite. It is integral and decentralist in depth, just as the machine was fragmentary, centralist, and superficial in its patterning of human relationships.
The instance of the electric light may prove illuminating in this connection. The electric light is pure information. It is a medium without a message, as it were, unless it is used to spell out some verbal ad or name. This fact, characteristic of all media, means that the “content” of any medium is always another medium. The content of writing is speech, just as the written word is the content of print, and print is the content of the telegraph. If it is asked, “What is the content of speech?” it is necessary to say, “It is an actual process of thought, which is in itself nonverbal.” An abstract painting represents direct manifestation of creative thought processes as they might appear in computer designs. What we are considering here, however, are the psychic and social consequences of the designs or patterns as they amplify or accelerate existing processes. For the “message” of any medium or technology is the change of scale or pace or pattern that it introduces into human affairs. The railway did not introduce movement or transportation or wheel or road into human society, but it accelerated and enlarged the scale of previous human functions, creating totally new kinds of cities and new kinds of work and leisure. This happened whether the railway functioned in a tropical or a northern environment, and is quite independent of the freight or content of the railway medium. The airplane, on the other hand, by accelerating the rate of transportation, tends to dissolve the railway form of city, politics, and association, quite independently of what the airplane is used for.
Let us return to the electric light. Whether the light is being used for brain surgery or night baseball is a matter of indifference. It could be argued that these activities are in some way the “content” of the electric light, since they could not exist without the electric light. This fact merely underlines the point that “the medium is the message” because it is the medium that shapes and controls the scale and form of human association and action. The content or uses of such media are as diverse as they are ineffectual in shaping the form of human association. Indeed, it is only too typical that the “content” of any medium blinds us to the character of the medium. It is only today that industries have become aware of the various kinds of business in which they are engaged. When IBM discovered that it was not in the business of making office equipment or business machines, but that it was in the business of processing information, then it began to navigate with clear vision. The General Electric Company makes a considerable portion of its profits from electric light bulbs and lighting systems. It has not yet discovered that, quite as much as AT&T, it is in the business of moving information.
The electric light escapes attention as a communication medium just because it has no “content.” And this makes it an invaluable instance of how people fail to study media at all. For it is not till the electric light is used to spell out some brand name that it is noticed as a medium. Then it is not the light but the “content” (or what is really another medium) that is noticed. The message of the electric light is like the message of electric power in industry, totally radical, pervasive, and decentralized. For electric light and power are separate from their uses, yet they eliminate time and space factors in human association exactly as do radio, telegraph, telephone, and TV, creating involvement in depth.
A fairly complete handbook for studying the extensions of man could be made up from selections from Shakespeare. Some might quibble about whether or not he was referring to TV in these familiar lines from Romeo and Juliet:
But soft! what light through yonder window breaks?
It speaks, and yet says nothing.
In Othello, which, as much as King Lear, is concerned with the torment of people transformed by illusions, there are these lines that bespeak Shakespeare’s intuition of the transforming powers of new media:
Is there not charms
By which the property of youth and maidhood
May be abus’d? Have you not read Roderigo,
Of some such thing?
In Shakespeare’s Troilus and Cressida, which is almost completely devoted to both a psychic and social study of communication, Shakespeare states his awareness that true social and political navigation depend upon anticipating the consequences of innovation:
The providence that’s in a watchful state
Knows almost every grain of Plutus’ gold,
Finds bottom